The music video has a brief narrative about working long hours set to a pop/rap song. It sticks closely to the literal meaning of the lyrics by showing the male lead in a park and getting frustrated in an office. The video is predominantly performance-based with shots of the lead singers and band. It uses simple cuts between shots with some jump edits to speed up the pace in sync with the music. Establishing shots introduce the locations and characters. The narrative is broken up by additional performances and moves between locations backwards at the end.
Our music video uses conventions of the pop/rap genre through band performances and solo performances from the male and female leads. It sticks closely to the literal meaning of the lyrics, reflecting the lyrics about work through scenes of the lead singer in an office getting frustrated. Most of the editing cuts the shots on the beat of the music to sync with the lyrics and pace of the song. The video focuses on presenting the artists through close-ups and establishing shots to meet audience and record label demands, portraying the female artist in an urban style and the boy band in a typical style. The narrative and performances are the main components that drive the music video forward.
The document discusses conventions used in media products, including technical, symbolic, and structural conventions. It provides examples of how camera angles, editing, lighting, costumes, and layout were used in line with conventions of genres like R&B and house music. Close-ups, synchronized cuts, fluorescent lighting, urban clothing, and central artist positioning were some techniques discussed. The goal was to represent the artists and genre tropes while also adding some unique and challenging elements.
The music video uses, develops, and challenges some conventions of real hip hop/soul music videos. It develops conventions through the artist's streetwear costumes, locations like public streets, themes of love, close-up shots, and editing that matches the song's pace. It challenges conventions slightly through an unpredictable artist and themes of imagination. Cinematography, lighting, sound, and other elements reinforce the love theme and apply genre theories to represent the artist and their feelings. Overall, the video mainly develops rather than challenges typical conventions of the hip hop/soul music video genre.
The document discusses the purpose and analysis of a student-created music video. It aimed to represent the genres of hip hop and soul through conventions like the artist's streetwear costume, locations like public streets, and themes of love. The video was also meant to apply media theories and challenge or develop conventions. Overall, the analysis found the video largely followed expectations for the genres through its representation of the artist, cinematography, editing, sound, and other elements.
The document discusses conventions of pop music videos and how the media product challenges some conventions while developing others. It summarizes Andrew Goodwin's theory of typical pop music video conventions, such as demonstrating genre characteristics and relating visuals to lyrics/music. Research analyzed conventions in pop artists' videos and Sam Smith's videos specifically. The media product uses a narrative structure and matches lyrics and visuals, but challenges conventions like lip syncing and develops conventions such as reversing typical gender roles. Ancillary conventions for pop genre products like magazines are also discussed.
The document discusses conventions used in the production of a music video and related media for artists Kimani and Mats. It covers both technical conventions like camera angles, editing techniques, and lighting as well as symbolic conventions including styling, imagery, and layout. The goal was to represent Kimani as a dominant and confident female artist while also promoting Mats, and use conventions common to R&B and house music genres. Dancers were included to enhance Kimani's performance but were shot differently to distinguish them from the lead artists.
The document discusses conventions used in media products for an R&B/house music video and album. It summarizes the technical, symbolic, and structural conventions used for the camera work, editing, lighting, styling, layout, and imagery of the music video and digipak/website. Close-ups, synchronized cuts, neon lighting, urban styling, centered artist images and track listings are some of the conventions discussed to represent the genres and promote the artists.
This music video uses a combination of narrative and metaphorical elements to connect the visuals with the lyrics of the song. When the lyrics mention "she fights for her life", the visuals show a dramatic change in the bed sheets from light to dark colors. As the mood and tempo of the song changes from verse to chorus, the visuals also change dramatically. Props around the bed like coffee and a book suggest the woman is dreaming as she lies in bed. The pure and clean visuals maintain an innocent tone throughout the video as the woman's narrative is conveyed through the changing lyrics and music.
Our music video uses conventions of the pop/rap genre through band performances and solo performances from the male and female leads. It sticks closely to the literal meaning of the lyrics, reflecting the lyrics about work through scenes of the lead singer in an office getting frustrated. Most of the editing cuts the shots on the beat of the music to sync with the lyrics and pace of the song. The video focuses on presenting the artists through close-ups and establishing shots to meet audience and record label demands, portraying the female artist in an urban style and the boy band in a typical style. The narrative and performances are the main components that drive the music video forward.
The document discusses conventions used in media products, including technical, symbolic, and structural conventions. It provides examples of how camera angles, editing, lighting, costumes, and layout were used in line with conventions of genres like R&B and house music. Close-ups, synchronized cuts, fluorescent lighting, urban clothing, and central artist positioning were some techniques discussed. The goal was to represent the artists and genre tropes while also adding some unique and challenging elements.
The music video uses, develops, and challenges some conventions of real hip hop/soul music videos. It develops conventions through the artist's streetwear costumes, locations like public streets, themes of love, close-up shots, and editing that matches the song's pace. It challenges conventions slightly through an unpredictable artist and themes of imagination. Cinematography, lighting, sound, and other elements reinforce the love theme and apply genre theories to represent the artist and their feelings. Overall, the video mainly develops rather than challenges typical conventions of the hip hop/soul music video genre.
The document discusses the purpose and analysis of a student-created music video. It aimed to represent the genres of hip hop and soul through conventions like the artist's streetwear costume, locations like public streets, and themes of love. The video was also meant to apply media theories and challenge or develop conventions. Overall, the analysis found the video largely followed expectations for the genres through its representation of the artist, cinematography, editing, sound, and other elements.
The document discusses conventions of pop music videos and how the media product challenges some conventions while developing others. It summarizes Andrew Goodwin's theory of typical pop music video conventions, such as demonstrating genre characteristics and relating visuals to lyrics/music. Research analyzed conventions in pop artists' videos and Sam Smith's videos specifically. The media product uses a narrative structure and matches lyrics and visuals, but challenges conventions like lip syncing and develops conventions such as reversing typical gender roles. Ancillary conventions for pop genre products like magazines are also discussed.
The document discusses conventions used in the production of a music video and related media for artists Kimani and Mats. It covers both technical conventions like camera angles, editing techniques, and lighting as well as symbolic conventions including styling, imagery, and layout. The goal was to represent Kimani as a dominant and confident female artist while also promoting Mats, and use conventions common to R&B and house music genres. Dancers were included to enhance Kimani's performance but were shot differently to distinguish them from the lead artists.
The document discusses conventions used in media products for an R&B/house music video and album. It summarizes the technical, symbolic, and structural conventions used for the camera work, editing, lighting, styling, layout, and imagery of the music video and digipak/website. Close-ups, synchronized cuts, neon lighting, urban styling, centered artist images and track listings are some of the conventions discussed to represent the genres and promote the artists.
This music video uses a combination of narrative and metaphorical elements to connect the visuals with the lyrics of the song. When the lyrics mention "she fights for her life", the visuals show a dramatic change in the bed sheets from light to dark colors. As the mood and tempo of the song changes from verse to chorus, the visuals also change dramatically. Props around the bed like coffee and a book suggest the woman is dreaming as she lies in bed. The pure and clean visuals maintain an innocent tone throughout the video as the woman's narrative is conveyed through the changing lyrics and music.
This music video for "Skinny Genes" by Eliza Doolittle uses animation and paper-like transitions to represent the lyrics metaphorically. Close-ups of the artist engage the audience as she dances and lip syncs. Though there is no narrative, the bright colors, comical gestures, and sense of joy portray the artist's happy-go-lucky personality. In comparison, the music video for "Amaranth" by Nightwish uses a darker aesthetic, faster pacing, and imagery of blood and fallen angels to represent the heavy metal genre in a more serious tone. Meanwhile, Owl City's "Fireflies" depicts a dream-like world through props like toys and a young boy's room to match
The student created a music video, album, and website for a fictional pop artist named Jayme-Lee. They researched conventions of pop music videos and incorporated elements like linking the visuals to lyrics, using performance, narrative, and concept-based scenes. Special effects like split screens and fades were used. Feedback noted the need for more dramatic scenes to balance out the positive ones. Color themes and fonts were carried through the different products to create cohesion around the artist's message of addiction. The combination of products helped tell the story and symbolism within the album.
This document discusses various conventions commonly found in music videos across different genres. It covers conventions related to performance, narrative, concept, introductions/outros, promoting the artist, choreography, editing techniques like cuts/fades and slow motion, pace/transitions, mise-en-scene elements like costume and lighting, and how conventions illustrate the genre. Specific music video examples are provided for many different genres to show how they either meet or challenge typical conventions for that style of music.
The document provides an overview of Andrew Goodwin's theory on characteristics found in music videos. It lists 7 main points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals where lyrics are represented through images, 3) The relationship between music and visuals where the visual tone reflects the music, 4) Record labels demand close ups of artists and artists develop recurring motifs, 5) Frequent references to looking through screens and mirrors and voyeuristic treatment of female bodies, 6) Artists develop recurring motifs that establish their visual style, 7) Intertextual references to other media like films and other music videos.
The document discusses how the music video for the song "Common People" by Pulp addresses elements of Laura Mulvey's theory of the male gaze. Specifically, it avoids objectifying or sexualizing the female character. It uses a variety of camera shots and editing techniques to tell a narrative that loosely follows the song lyrics. It includes both a narrative section and a performance section showing the band playing, following conventions of Britpop music videos. Brick walls and other stereotypically British images and locations are featured throughout to emphasize the British nature of the genre.
The document analyzes Andrew Goodwin's 7 key ideas about music video analysis. It discusses how music videos demonstrate genre characteristics through imagery, how the relationship between lyrics and visuals can be illustrative, amplifying or contradictory, and how the music and visuals typically have a reflective tone. It notes that record labels often demand close-ups of artists and that artists may develop recurring visual motifs. The document provides examples from the Pulp music video "Babies" and the Blur music video "The Universal" to illustrate these points.
1. The media product uses and develops conventions from real music videos through extensive research into the indie/pop genre. Shots and editing styles were inspired by music videos like Rihanna's "Diamonds" but developed further, like adding slow motion and reversing shots.
2. Conventions were also challenged, like casting the creator instead of a Caucasian actress to subvert expectations and appeal to a wider audience. Additionally, the music video did not include a love interest like typical indie/pop videos to focus more on the singer's emotions and lyrics.
3. Elements were developed further, like changing a painted scene from colorful to black paint smeared aggressively to depict anger, developing the idea from Demi Lov
The document discusses key components of music videos according to Andrew Goodwin. It lists 7 key ideas: 1) Music videos demonstrate genre characteristics through elements like performances. 2) There is a relationship between the lyrics and visuals. 3) A relationship also exists between the music and visuals. 4) Record labels influence close-ups of artists and developing motifs. 5) Videos often reference voyeurism and treating the female body. 6) Intertextual references to other works are common. 7) Videos are either primarily performance, narrative, or concept-based. It then analyzes the music videos for "Side to Side" by Ariana Grande and "Work From Home" by Fifth Harmony based on these components.
The music video uses, develops, and challenges some conventions of the hip hop and soul genres. It represents the artist in typical hip hop fashion through his streetwear clothing. Locations like public streets also adhere to hip hop conventions. Cinematography with close-ups and storytelling through editing further develop genre norms. Some elements like themes of love challenge expectations. Overall the video draws from the genres' forms and conventions while adding new elements.
The document is an evaluation of conventions used and challenged in the creation of a music video for a pop song. It begins by outlining conventions of the pop genre identified through research, including conventions related to narrative, performance elements, treatment of women, and others. It then analyzes the music videos of John Mayer, noting conventions he uses and challenges. Finally, it evaluates the creator's own music video, identifying how they conformed to conventions like linking visuals and music, use of narrative, and dancing, while challenging conventions like voyeuristic treatment of women and adherence to trends. The document uses tables and examples to thoroughly examine conventions at work.
The document discusses how the media product uses conventions of real music videos. It analyzes shots in the video that link visuals to lyrics or narrative. It also examines how the shots represent how a record company would want their artist portrayed as edgy or popular. Genre conventions like the use of sexuality in pop videos and intertextual references are discussed. Camera shots, lighting, mise-en-scene, and inspiration from other music videos are evaluated in terms of how they develop conventions of the genre.
The document outlines 7 key ideas about music videos:
1) Music videos demonstrate genre characteristics like stage performances for rock bands.
2) There is usually a relationship between lyrics and visuals where lyrics are represented through images.
3) The tone and atmosphere of visuals usually reflects the music through illustrating or amplifying it.
The document analyzes the music video for the song "Carry Me" by the indie band Bombay Bicycle Club. It discusses several aspects of the video, including how it demonstrates genre characteristics of the indie genre through its unique animation style and lack of close-ups of the artist. It also examines relationships between the lyrics and visuals, music and visuals, use of motifs, notions of looking, and lack of intertextual references. Overall, the summary demonstrates how the video conveys the band's original style while also incorporating some common music video conventions.
Our music video challenges conventions of the EDM genre in some ways while adhering to others. While EDM videos typically feature narratives unrelated to the lyrics and secondary roles for artists, our video centers on the artist to develop their brand. It also includes an atypical domestic abuse storyline. However, the fast-paced editing, upbeat settings during performances, and focus on popular locations align with genre norms. Overall, the video balances fitting expectations with distinctive elements to create interest.
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
The Preatures are an Australian indie band from Sydney formed in 2010. They won a songwriting competition in 2013 for their song "Is This How You Feel?" from their album Blue Planet Eyes. The music video for "Is This How You Feel?" focuses on a live stage performance and features characteristics common to indie music videos, such as dark lighting, a monochromatic color palette, and an emphasis on the band's energetic performance style. The video uses editing, camerawork, lighting, and Isabella Manfredi's movements to visually represent and amplify the song's lyrics and musical tone.
The document provides an analysis of the music video for BTS's song "Fire". It discusses several elements of the music video including editing, camera angles, lighting, performance, styling, lyrics/music/visuals connection, and close ups/motifs. Overall, the music video uses some conventions of both the K-pop and hip hop genres but also makes some deviations, such as having darker lighting and slower camera movements at times to contrast with the upbeat song. The performance elements through dance scenes are a key focus.
The document summarizes the media product of a music video and album created by Xenia Petley. It discusses the various elements used that follow conventions of real media products in the singer/songwriter genre, including:
- The album cover uses simple fonts and backgrounds focused on the artist's face, similar to artists like James Blunt.
- Shots in the music video include extreme close-ups, mid shots and wide shots to connect with the audience, like videos by Seal.
- Editing techniques like lip syncing, scene transitions and cutting to the beat are used to engage viewers, as done by Lemar.
- Artificial lighting gives the artist a glow, and a piano is included
Goodwin's music video theory states that each genre has characteristics that define it. Grimes' "Kill V. Maim" demonstrates synthpop genre characteristics like a narrative-based storyline, bright colors, and fast editing. The lyrics and visuals illustrate Grimes wreaking havoc as a genderbending vampire. There are many close-ups of Grimes, developing her motif of angelic figures. The video references films, TV, and other media through costumes, settings, and intertitles. Melanie Martinez's "Pity Party" also shows its alternative pop genre through a narrative, artistic style, and focus on the artist's appearance. The lyrics and visuals follow Cry Baby's insanity at her lonely
Question one - In what ways does your media product use, develop or challenag...laura.thornborrow
This document discusses how a media product uses and develops conventions of real media products in various forms. It summarizes the use of camera techniques like close-ups, establishing shots, and point-of-view shots in a music video. It also discusses the two locations used - an urban setting to represent loneliness and a forest to represent a peaceful performance setting. Finally, it summarizes how the designs of a digipak and advert for the music follow conventions of the singer-songwriter genre through simple, natural images and continuity across promotional materials.
This music video for "Skinny Genes" by Eliza Doolittle uses animation and paper-like transitions to represent the lyrics metaphorically. Close-ups of the artist engage the audience as she dances and lip syncs. Though there is no narrative, the bright colors, comical gestures, and sense of joy portray the artist's happy-go-lucky personality. In comparison, the music video for "Amaranth" by Nightwish uses a darker aesthetic, faster pacing, and imagery of blood and fallen angels to represent the heavy metal genre in a more serious tone. Meanwhile, Owl City's "Fireflies" depicts a dream-like world through props like toys and a young boy's room to match
The student created a music video, album, and website for a fictional pop artist named Jayme-Lee. They researched conventions of pop music videos and incorporated elements like linking the visuals to lyrics, using performance, narrative, and concept-based scenes. Special effects like split screens and fades were used. Feedback noted the need for more dramatic scenes to balance out the positive ones. Color themes and fonts were carried through the different products to create cohesion around the artist's message of addiction. The combination of products helped tell the story and symbolism within the album.
This document discusses various conventions commonly found in music videos across different genres. It covers conventions related to performance, narrative, concept, introductions/outros, promoting the artist, choreography, editing techniques like cuts/fades and slow motion, pace/transitions, mise-en-scene elements like costume and lighting, and how conventions illustrate the genre. Specific music video examples are provided for many different genres to show how they either meet or challenge typical conventions for that style of music.
The document provides an overview of Andrew Goodwin's theory on characteristics found in music videos. It lists 7 main points: 1) Music videos demonstrate genre characteristics, 2) There is a relationship between lyrics and visuals where lyrics are represented through images, 3) The relationship between music and visuals where the visual tone reflects the music, 4) Record labels demand close ups of artists and artists develop recurring motifs, 5) Frequent references to looking through screens and mirrors and voyeuristic treatment of female bodies, 6) Artists develop recurring motifs that establish their visual style, 7) Intertextual references to other media like films and other music videos.
The document discusses how the music video for the song "Common People" by Pulp addresses elements of Laura Mulvey's theory of the male gaze. Specifically, it avoids objectifying or sexualizing the female character. It uses a variety of camera shots and editing techniques to tell a narrative that loosely follows the song lyrics. It includes both a narrative section and a performance section showing the band playing, following conventions of Britpop music videos. Brick walls and other stereotypically British images and locations are featured throughout to emphasize the British nature of the genre.
The document analyzes Andrew Goodwin's 7 key ideas about music video analysis. It discusses how music videos demonstrate genre characteristics through imagery, how the relationship between lyrics and visuals can be illustrative, amplifying or contradictory, and how the music and visuals typically have a reflective tone. It notes that record labels often demand close-ups of artists and that artists may develop recurring visual motifs. The document provides examples from the Pulp music video "Babies" and the Blur music video "The Universal" to illustrate these points.
1. The media product uses and develops conventions from real music videos through extensive research into the indie/pop genre. Shots and editing styles were inspired by music videos like Rihanna's "Diamonds" but developed further, like adding slow motion and reversing shots.
2. Conventions were also challenged, like casting the creator instead of a Caucasian actress to subvert expectations and appeal to a wider audience. Additionally, the music video did not include a love interest like typical indie/pop videos to focus more on the singer's emotions and lyrics.
3. Elements were developed further, like changing a painted scene from colorful to black paint smeared aggressively to depict anger, developing the idea from Demi Lov
The document discusses key components of music videos according to Andrew Goodwin. It lists 7 key ideas: 1) Music videos demonstrate genre characteristics through elements like performances. 2) There is a relationship between the lyrics and visuals. 3) A relationship also exists between the music and visuals. 4) Record labels influence close-ups of artists and developing motifs. 5) Videos often reference voyeurism and treating the female body. 6) Intertextual references to other works are common. 7) Videos are either primarily performance, narrative, or concept-based. It then analyzes the music videos for "Side to Side" by Ariana Grande and "Work From Home" by Fifth Harmony based on these components.
The music video uses, develops, and challenges some conventions of the hip hop and soul genres. It represents the artist in typical hip hop fashion through his streetwear clothing. Locations like public streets also adhere to hip hop conventions. Cinematography with close-ups and storytelling through editing further develop genre norms. Some elements like themes of love challenge expectations. Overall the video draws from the genres' forms and conventions while adding new elements.
The document is an evaluation of conventions used and challenged in the creation of a music video for a pop song. It begins by outlining conventions of the pop genre identified through research, including conventions related to narrative, performance elements, treatment of women, and others. It then analyzes the music videos of John Mayer, noting conventions he uses and challenges. Finally, it evaluates the creator's own music video, identifying how they conformed to conventions like linking visuals and music, use of narrative, and dancing, while challenging conventions like voyeuristic treatment of women and adherence to trends. The document uses tables and examples to thoroughly examine conventions at work.
The document discusses how the media product uses conventions of real music videos. It analyzes shots in the video that link visuals to lyrics or narrative. It also examines how the shots represent how a record company would want their artist portrayed as edgy or popular. Genre conventions like the use of sexuality in pop videos and intertextual references are discussed. Camera shots, lighting, mise-en-scene, and inspiration from other music videos are evaluated in terms of how they develop conventions of the genre.
The document outlines 7 key ideas about music videos:
1) Music videos demonstrate genre characteristics like stage performances for rock bands.
2) There is usually a relationship between lyrics and visuals where lyrics are represented through images.
3) The tone and atmosphere of visuals usually reflects the music through illustrating or amplifying it.
The document analyzes the music video for the song "Carry Me" by the indie band Bombay Bicycle Club. It discusses several aspects of the video, including how it demonstrates genre characteristics of the indie genre through its unique animation style and lack of close-ups of the artist. It also examines relationships between the lyrics and visuals, music and visuals, use of motifs, notions of looking, and lack of intertextual references. Overall, the summary demonstrates how the video conveys the band's original style while also incorporating some common music video conventions.
Our music video challenges conventions of the EDM genre in some ways while adhering to others. While EDM videos typically feature narratives unrelated to the lyrics and secondary roles for artists, our video centers on the artist to develop their brand. It also includes an atypical domestic abuse storyline. However, the fast-paced editing, upbeat settings during performances, and focus on popular locations align with genre norms. Overall, the video balances fitting expectations with distinctive elements to create interest.
Wolf Alice is a four-piece alternative rock band from London. Their music video for "You're a Germ" tells a horror narrative story through exaggerated facial expressions and amplified scenes that represent the lyrics. There are clear relationships between the lyrics, music, and visuals as events in the video heighten with the music and specific shots represent lyrics. Close-ups are used to focus on lead singer Ellie Rowsell and allow the audience to follow the story from different perspectives without directly addressing the camera like a conventional performance video.
The Preatures are an Australian indie band from Sydney formed in 2010. They won a songwriting competition in 2013 for their song "Is This How You Feel?" from their album Blue Planet Eyes. The music video for "Is This How You Feel?" focuses on a live stage performance and features characteristics common to indie music videos, such as dark lighting, a monochromatic color palette, and an emphasis on the band's energetic performance style. The video uses editing, camerawork, lighting, and Isabella Manfredi's movements to visually represent and amplify the song's lyrics and musical tone.
The document provides an analysis of the music video for BTS's song "Fire". It discusses several elements of the music video including editing, camera angles, lighting, performance, styling, lyrics/music/visuals connection, and close ups/motifs. Overall, the music video uses some conventions of both the K-pop and hip hop genres but also makes some deviations, such as having darker lighting and slower camera movements at times to contrast with the upbeat song. The performance elements through dance scenes are a key focus.
The document summarizes the media product of a music video and album created by Xenia Petley. It discusses the various elements used that follow conventions of real media products in the singer/songwriter genre, including:
- The album cover uses simple fonts and backgrounds focused on the artist's face, similar to artists like James Blunt.
- Shots in the music video include extreme close-ups, mid shots and wide shots to connect with the audience, like videos by Seal.
- Editing techniques like lip syncing, scene transitions and cutting to the beat are used to engage viewers, as done by Lemar.
- Artificial lighting gives the artist a glow, and a piano is included
Goodwin's music video theory states that each genre has characteristics that define it. Grimes' "Kill V. Maim" demonstrates synthpop genre characteristics like a narrative-based storyline, bright colors, and fast editing. The lyrics and visuals illustrate Grimes wreaking havoc as a genderbending vampire. There are many close-ups of Grimes, developing her motif of angelic figures. The video references films, TV, and other media through costumes, settings, and intertitles. Melanie Martinez's "Pity Party" also shows its alternative pop genre through a narrative, artistic style, and focus on the artist's appearance. The lyrics and visuals follow Cry Baby's insanity at her lonely
Question one - In what ways does your media product use, develop or challenag...laura.thornborrow
This document discusses how a media product uses and develops conventions of real media products in various forms. It summarizes the use of camera techniques like close-ups, establishing shots, and point-of-view shots in a music video. It also discusses the two locations used - an urban setting to represent loneliness and a forest to represent a peaceful performance setting. Finally, it summarizes how the designs of a digipak and advert for the music follow conventions of the singer-songwriter genre through simple, natural images and continuity across promotional materials.
Analysis of stereo hearts by gym class heroesSean Walters
The document analyzes the music video for the song "Stereo Hearts" by Gym Class Heroes. It discusses several elements of the video, including the urban genre setting reflecting rap and pop styles. Images in the video relate to lyrics, showing one artist pointing up when the word "up" is sung. The video presents the artist and band, showing one artist solely and the other with the band, distinguishing the singers. Special effects with shadows are used throughout the video without a main narrative.
Codes and conventions are elements that audiences expect to see in different music video genres in order to identify them. Technical codes involve elements like camera shots and angles, while symbolic codes relate to elements like costumes, lighting, and props. Pop music videos commonly use close-up shots of the star to showcase their fashion as well as wide shots of luxury locations. Narratives, performances, cameos, and mise-en-scene elements like lighting, costumes, and props are also important codes that help audiences connect the visuals of the video to the song.
The document analyzes and annotates 10 stills/images from a music video for compliance with and deviations from conventions of the hip-hop/rap genre. Key conventions used include the artist's clothing, stance, and urban location in one shot, as well as dancing scenes. Some deviations are also noted, such as using the same locations throughout, more subtle displays of wealth, and shots that make the artist seem less dominant.
The document discusses how the music video for The Killers' "For Reason Unknown" uses and challenges conventions of real music videos. It includes two main parts - band performance and narrative - following conventions. However, the narrative is unconventional by using non-chronological editing. Camerawork in the band performance uses close-ups and angles to introduce the band members, while the narrative focuses on storytelling over close-ups. Overall, the video draws on conventions but aims to be unique through its ambiguous narrative structure and interpretation of lyrics.
The document provides an analysis of the music videos for "Wild Thoughts" by DJ Khaled featuring Rihanna and Bryson Tiller and "Congratulations" by Post Malone. It summarizes the conventions, camerawork, editing, sound, genre, narrative, performance, representation, institutions, and values/ideology presented in each video. The analysis finds that both videos are performance-based, with limited narrative, and portray the artists celebrating wealth, success, and sexuality through their music and imagery.
The document discusses ideas for a music video that were drawn from analyzing other videos in different genres. It describes how a gospel video used words appearing on screen to emphasize lyrics. An R&B video by R. Kelly featuring Usher focused on a woman as is typical in the genre. This gave the group an idea to show different parts of a woman's body in their video to match lyrics. A video by Solange changes era with each chorus to match lyrics, so the group planned to change genre for each chorus in their own video.
The document discusses ideas for a music video that were drawn from analyzing other videos in different genres. It describes how a gospel video used words appearing on screen to emphasize lyrics. An R&B video featuring a male artist in profile drew attention and inspired using black and red colors and a profile shot in their opening scene. Another R&B video focused on a girl to match lyrics about admiring her, as is common in the genre. Motives from a Kate Nash video and era changes in a Solange video also provided ideas for drawing attention and matching visuals with lyrics/beats.
There are several types of music videos including performance videos that show the artist playing, narrative videos that act out the song's story, and mixture videos with both. Camera techniques like crane shots, pans, tilts, and close-ups are used to capture performances or show emotions. Extensive editing is required to synchronize lip movements and footage to the lyrics. Elements like props, costumes, locations, and colors are chosen to represent the genre and song meaning. The editing process and mise-en-scene elements are vital parts of crafting an effective music video.
The document provides an analysis of a music video for an R&B song. It discusses how the video uses various shot types, close-ups, and narrative elements to convey the artist's emotions over a breakup and challenge some conventions of typical R&B music videos. Jump cuts, desaturation, lyrics, and slow pacing of cuts are used to reflect the mood of the slow, sad song and show the relationship from its happy times to its ending.
Music videos are carefully edited to match the song and keep viewers' attention. Editing frequently mirrors the musical elements of the song, such as cutting on beats or emphasizing hooks. The setting is also important, as it communicates genre and the artist's image. Common settings include concert halls, streets, and studios. Camera techniques like establishing shots, close-ups, and tracking shots are used to enhance performances and match the energy of the song.
The document provides an analysis of how the media product uses conventions of real music videos. It discusses using forms from Rihanna's music videos as inspiration. Key areas like camerawork, editing, sound, and mis-en-scene are addressed. Shots like close-ups and locations like a park were used to portray emotion. The visuals, audio, and story were carefully synced to the song. Elements from other artists' videos like red party cups and black and white footage were incorporated to feel realistic. Overall, conventions from the R&B/hip hop genre and existing music videos were challenged and developed upon to craft an authentic final product.
The document discusses how the author's music video for the song "Retrograde" by James Blake both uses and challenges conventions of electronic and trip hop music video genres. It compares the author's video to Goodwin's 6 features of music videos. While the author's video demonstrates some conventions like combining narrative and performance aspects, it also challenges conventions like not using frequent close-ups of the artist. The document also discusses how the author's portrayal of the vacant artist and emotional main character, relevant outdoor setting, handheld camerawork and editing techniques work with the meaningful lyrics of the song.
The document analyzes and compares the music videos for The Weeknd's "The Hills" and PartyNextDoor's "Come and See Me". It discusses the conventions, camerawork, editing, genres, narratives, performances, representations, institutions, and values/ideologies presented in each video. The document provides detailed analyses of the technical and artistic elements used in each video.
The costumes, locations, and thought put into the video are well done. Close up shots of the singer's facial expressions are effective. Special effects, good acting, and precise lip syncing make this a high quality music video.
The editing, camera angles, and actors' performances are well considered. Shots are varied and the rappers appear confident lip syncing in busy London locations.
Little effort was put into this slow song video. The locations and costumes bear no relation, and shots are repeated without editing. Acting is unrehearsed and camera crew can be seen, indicating a lack of professionalism.
This document discusses common codes and conventions used in music videos. It covers different camera shots like crane shots, pans, and close ups that are used to capture performances and draw attention to certain elements. It also discusses elements of mise-en-scene like props, costumes, locations, and lighting effects that help set the scene and represent different music genres. Editing techniques are also important for matching footage to song lyrics through techniques like jump cuts, parallel editing, and split screens.
The music video concept is about a boy learning to skateboard to impress a girl. He struggles at first but improves over time. Influences for the video include other Fall Out Boy music videos which use dark colors and lighting. The lyrics and visuals will be linked, showing him meeting the girl and protecting her from other boys. Close-ups, dark tones, and developing the band members' styles will help portray the pop punk/emo genre conventions.
This document summarizes key shots from the student's original music video and the influences and conventions they drew from. It includes:
1) 9 screenshots from their own video and from other music videos they analyzed that demonstrate lyrics matching visuals, representing their artist's brand, using camerawork, lighting, mise-en-scene, and intertextual references.
2) Explanations of how their shots follow conventions of the rap genre in portraying lavish lifestyles and pushing creative boundaries to attract attention.
3) Discussions of the music videos that inspired their own work, including shots from Travis Scott, A$AP Rocky, and Chance the Rapper videos.
4) Ref
The document summarizes the media product of a music video and album created by Xenia Petley. It discusses the various elements used that follow conventions of real media products in the singer/songwriter genre, including:
- The album cover uses simple fonts and backgrounds focused on the artist's face, similar to artists like James Blunt.
- Shots in the music video include extreme close-ups, mid shots and wide shots to connect with the audience, like videos by Seal.
- Editing techniques like lip syncing, scene transitions and cutting to the beat are used to engage viewers, as done by Lemar.
- Artificial lighting gives the artist a glow, and a piano is included
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Morgan Freeman is Jimi Hendrix: Unveiling the Intriguing Hypothesisgreendigital
In celebrity mysteries and urban legends. Few narratives capture the imagination as the hypothesis that Morgan Freeman is Jimi Hendrix. This fascinating theory posits that the iconic actor and the legendary guitarist are, in fact, the same person. While this might seem like a far-fetched notion at first glance. a deeper exploration reveals a rich tapestry of coincidences, speculative connections. and a surprising alignment of life events fueling this captivating hypothesis.
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Introduction to the Hypothesis: Morgan Freeman is Jimi Hendrix
The idea that Morgan Freeman is Jimi Hendrix stems from a mix of historical anomalies, physical resemblances. and a penchant for myth-making that surrounds celebrities. While Jimi Hendrix's official death in 1970 is well-documented. some theorists suggest that Hendrix did not die but instead reinvented himself as Morgan Freeman. a man who would become one of Hollywood's most revered actors. This article aims to delve into the various aspects of this hypothesis. examining its origins, the supporting arguments. and the cultural impact of such a theory.
The Genesis of the Theory
Early Life Parallels
The hypothesis that Morgan Freeman is Jimi Hendrix begins by comparing their early lives. Jimi Hendrix, born Johnny Allen Hendrix in Seattle, Washington, on November 27, 1942. and Morgan Freeman, born on June 1, 1937, in Memphis, Tennessee, have lived very different lives. But, proponents of the theory suggest that the five-year age difference is negligible and point to Freeman's late start in his acting career as evidence of a life lived before under a different identity.
The Disappearance and Reappearance
Jimi Hendrix's death in 1970 at the age of 27 is a well-documented event. But, theorists argue that Hendrix's death staged. and he reemerged as Morgan Freeman. They highlight Freeman's rise to prominence in the early 1970s. coinciding with Hendrix's supposed death. Freeman's first significant acting role came in 1971 on the children's television show "The Electric Company," a mere year after Hendrix's passing.
Physical Resemblances
Facial Structure and Features
One of the most compelling arguments for the hypothesis that Morgan Freeman is Jimi Hendrix lies in the physical resemblance between the two men. Analyzing photographs, proponents point out similarities in facial structure. particularly the cheekbones and jawline. Both men have a distinctive gap between their front teeth. which is rare and often highlighted as a critical point of similarity.
Voice and Mannerisms
Supporters of the theory also draw attention to the similarities in their voices. Jimi Hendrix known for his smooth, distinctive speaking voice. which, according to some, resembles Morgan Freeman's iconic, deep, and soothing voice. Additionally, both men share certain mannerisms. such as their calm demeanor and eloquent speech patterns.
Artistic Parallels
Musical and Acting Talents
Jimi Hendrix was regarded as one of t
In today's rapidly evolving digital landscape, IPTV (Internet Protocol
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Brian Peck Leonardo DiCaprio: A Unique Intersection of Lives and Legaciesgreendigital
Introduction
The world of Hollywood is vast and interconnected. filled with countless stories of collaboration, friendship, and influence. Among these tales are the notable narratives of Brian Peck and Leonardo DiCaprio. The keyword "Brian Peck Leonardo DiCaprio" might not immediately ring a bell for everyone. but the connection between these two figures in the entertainment industry is intriguing and significant. This article delves deep into their lives, careers, and the moments where their paths intersect. providing a comprehensive look at how their stories intertwine.
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Early Life and Career Beginnings
Brian Peck: The Early Years
Brian Peck was born in New York City on July 29, 1960. From a young age, Peck exhibited a passion for the performing arts. He attended the Professional Children's School. which has a history of nurturing young talent in the arts. Peck's early career marked by a series of roles in television and film that showcased his versatility as an actor.
Peck's breakthrough came with his role in the cult classic "The Return of the Living Dead" (1985). His performance as Scuz, one of the punk rockers who releases a toxic gas that reanimates the dead. earned him a place in the annals of horror cinema. This role opened doors for Peck. allowing him to explore various facets of the entertainment industry. including writing and directing.
Leonardo DiCaprio: From Child Star to Hollywood Icon
Leonardo DiCaprio was born in Los Angeles, California, on November 11, 1974. His career began at a young age with appearances in television commercials and educational films. DiCaprio's big break came when he joined the cast of the popular sitcom "Growing Pains" (1985-1992). where he played the character Luke Brower.
DiCaprio's transition from television to film was seamless. He gained recognition for his role in "This Boy's Life" (1993) alongside Robert De Niro. This performance began a series of acclaimed roles. establishing DiCaprio as one of the most talented actors of his generation. His portrayal of Jack Dawson in James Cameron's "Titanic" (1997) catapulted him to global stardom. solidifying his status as a Hollywood icon.
Brian Peck Leonardo DiCaprio: Their Paths Cross
Collaborations and Connections
The keyword "Brian Peck Leonardo DiCaprio" signifies more than two names; it represents a fascinating connection in Hollywood. While their careers took different trajectories, their paths crossed in the 1990s. Brian Peck worked with DiCaprio on the set of the 1990s sitcom "Growing Pains." where DiCaprio had a recurring role. Peck appeared in a few episodes. contributing to the comedic and dynamic environment of the show.
Their professional relationship extended beyond "Growing Pains." Peck directed DiCaprio in several educational videos for the "Disneyland Fun" series. where DiCaprio's youthful charm and energy were evident. These early collaborations offered DiCaprio valuable experience in front of the camera. he
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Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Gamegreendigital
Introduction
Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
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Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
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Tom Cruise is a name that resonates with global audiences for his iconic roles in blockbuster films and his dynamic presence in Hollywood. But, beyond his illustrious career, Tom Cruise's personal life. especially his relationship with his daughter has been a subject of public fascination and media scrutiny. This article delves deep into the life of Tom Cruise daughter, Suri Cruise. Exploring her upbringing, the influence of her parents, and her current life.
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Introduction: The Fame Surrounding Tom Cruise Daughter
Suri Cruise, the daughter of Tom Cruise and Katie Holmes, has been in the public eye since her birth on April 18, 2006. Thanks to the media's relentless coverage, the world watched her grow up. As the daughter of one of Hollywood's most renowned actors. Suri has had a unique upbringing marked by privilege and scrutiny. This article aims to provide a comprehensive overview of Suri Cruise's life. Her relationship with her parents, and her journey so far.
Early Life of Tom Cruise Daughter
Birth and Immediate Fame
Suri Cruise was born in Santa Monica, California. and from the moment she came into the world, she was thrust into the limelight. Her parents, Tom Cruise and Katie Holmes. Were one of Hollywood's most talked-about couples at the time. The birth of their daughter was a anticipated event. and Suri's first public appearance in Vanity Fair magazine set the tone for her life in the public eye.
The Impact of Celebrity Parents
Having celebrity parents like Tom Cruise and Katie Holmes comes with its own set of challenges and privileges. Suri Cruise's early life marked by a whirlwind of media attention. paparazzi, and public interest. Despite the constant spotlight. Her parents tried to provide her with an upbringing that was as normal as possible.
The Influence of Tom Cruise and Katie Holmes
Tom Cruise's Parenting Style
Tom Cruise known for his dedication and passion in both his professional and personal life. As a father, Cruise has described as loving and protective. His involvement in the Church of Scientology, but, has been a point of contention and has influenced his relationship with Suri. Cruise's commitment to Scientology has reported to be a significant factor in his and Holmes' divorce and his limited public interactions with Suri.
Katie Holmes' Role in Suri's Life
Katie Holmes has been Suri's primary caregiver since her separation from Tom Cruise in 2012. Holmes has provided a stable and grounded environment for her daughter. She moved to New York City with Suri to start a new chapter in their lives away from the intense scrutiny of Hollywood.
Suri Cruise: Growing Up in the Spotlight
Media Attention and Public Interest
From stylish outfits to everyday activities. Suri Cruise has been a favorite subject for tabloids and entertainment news. The constant media attention has shaped her childhood. Despite this, Suri has managed to maintain a level of normalcy, thanks to her mother's efforts.
The Gallery of Shadows, In the heart of a bustling city
Question One.
1. products?
In what ways does your media
product use, develop or challenge
forms and conventions of real media
products?
In what ways does your media
product use, develop or challenge
forms and conventions of real media
products?
2. Music video genre - Our media products attract certain audiences because the song comes from a particular genre of
music, in this case rap/pop/hip-hop. Therefore it uses codes and conventions from that particular genre such as
sticking to an ‘urban image’. Because of this, the band will not attract fans of rock music etc.
Narrative- Our music video, have stuck to the literal meaning of the lyrics. This way, the audiences can relate to the
lyrics and what is happening in the music video. Here being the main singer disliking his job which is something thats
relatable to everyday life.
Form- Our video is very simplistic in a sense that the narrative runs chronologically and there are no special effects or
additions that makes the video creative.
Style- There is some band performance towards the end of the music video other than performances from the male
and female leads. This is combined with a simple narrative of the male lead getting annoyed at work. The editing
pace also contributes to the style of the music video and the pacing of the music.
Construction- In order to create the music video at it’s best, we had to construct the best clips together in the editorial
stage. This included seeing which bits we lip-synced the best and which clips ran smoothly when put together.
Events that take place- There is a short simple narrative of the lead singer in the park and in his office getting
frustrated with his work. However this narrative is cut up with performances from the male, female leads and the
band. There is only one location for the female lead as her part is shorter and less important.
Presentation of the artist- There are many close-ups of both artists to present them in a particular way and make the
fans feel as though they are interacting with them. This gives them a particular star image which is portrayed through
their performance, costumes and locations.
3. Typical characteristics of artists performance- For the female lead, she shows lots of confidence and attitude
because of the lyrics in her rap. Her expressions and gestures make her come across as an independent woman.
The male lead however, is fed up with his work and so shows a different attitude to the female lead. His performance
is more expressive in terms of the lyrics and his own persona. These performances are important in terms of
portraying the artist in a particular way.
Themes- Our music video includes two different music genres- rap and pop. This has enabled us to do a variety of
different locations and scenes in order to establish the artists theme. E.g the female lead belongs to a rap culture and
so her scenes would include urban locations such as a wall with graffiti. Iconography- For the female lead we can
see that her style is very urban because of the graffiti in the background. This contrasts with the male lead who
shows a typical boy-band image of performing in a park and an office.
Music video lyrics and music relationship- For our music video we had stuck to the literal meaning of the video. This
way we were able to film scenes that linked to the lyrics such as the office scene, which is linked to the dislike in his
work. The female lead however, acts out the lyrics and the location relates to her background.
Camera usage and editing style- In order to match the editing and the camerawork with the genre of the song, we
had to pick the best shots that would be most suitable for the music video. E.g when the male lead is frustrated in his
office we use a variety of shots to create more drama in the narrative.
Patterns of the music genres- In order to stick to the right genres of the artists we had to use the right code's and
conventions in order to make the best video. So for rap, there would be lots of attitude in performance and an
urbanised location as identified by the graffiti.
Intertextuality- Our music video shows two typical characters that are seen in the real world. This is clearly identified
through the way the music video is laid out. E.g The male lead showing a typical workman in an office who hates his
job. Whereas the female lead, represents a particular group of people, here being those with an urban background.
4. Goodwin
Our music video is from a pop/rap genre and so we can expect band performances, the
male and female lead performing to the camera and a narrative of some sort. Here, we
would see a rap from the female artist and a performance for the boy-band.
For our music video we stuck to the literal meaning of the lyrics throughout the narrative.
The lyrics about working are reflected through the visuals of the lead singer working in an
office and getting frustrated.
Most of the editing is cut on the beat to sync with the lyric changes and the timing of the
music. It speeds up to relate not only to the narrative but also to the beat of the music.
The band performance included solo parts of the guitarists, drummer and main singer.
Like every other music video, it would need close ups and good establishing shots of the
artist. This is so that it can meet the requirements of the record label and the demand
from audiences. The image given to the female artist is very urban and street where as
the band gives a typical boy-band image.
There is no notion of looking however the artists do sing to the camera thus interacting
with their audiences. The use of camerawork, costumes and locations only show
intertextuality and no voyeuristic features. The only references to looking is by the male
and female leads singling towards the camera.
There are intertextual references such as a typical worker in an office and a typical urban
image of the female lead.
The majority of the music video is performance based by the male and female leads in
different locations. For the male lead, there is a lot of narrative as we see him in the park
and working in the office, soon getting frustrated.
5. Vernallis
There is a brief narrative in the song about working for long amount of times and in the rap we see what goes on in the rappers mind.
The music video has stuck to the literal meaning of the lyrics by setting it in locations such as an office. Our video in predominately
performance based with a pinch of the band performance towards the end. This is to focus on the lead singers and the narrative which
is broken up throughout the video. This narrative is partial in a sense that we don’t know a lot about the male singer as it its only
focused on his dislike in his job. It runs smoothly with him in the park then the office but this is broken up by the band performance and
the female lead. We see at the end, the main singer leaves the office with the same hat on as the park scene, this makes the music
video go backwards in terms of locations. The narrative and performances are the main driving forces that shape the music video.
The shots in the music video just generally flow from one and another in simple cuts with no effects or tricks. However to speed some of
the action up, we have used jump edits and this also gives the music video a bit of an edge. This also speeds up the pace of the music
video along with the majority of the video which is mainly cut with the music. The shots are either cut on the beat of the music or the
actions echo the slides that are in the song. There is cutting against movement as demonstrated as we see the actions not only in sync
with the music but also cut on the beat.
In terms of camera movement and framing, the majority of the shots used are still which establish the artist in a still frame. It’s more the
framing and cuts that are linked to the music rather than camera movement and so enables focus on the male and female singers.
Because of the small input of camera movement, we focused more on the framing to show what is happening in the video rather that
put in some tricks. The camera movements used however, are to either rotate round the artist or make the band performance more
exciting to watch such as hand-held shots. The very first shot in the music video is an establishing shot of the male singer in the park
which shows him in full before we see him singing to the camera. There are also establishing shots of the office which, again, gives us
audiences the background to the character that the main singer is portraying.
The content of the music video is quickly revealed at the start as we see shots of him, not only in the park but also in his office. This is
to establish the events in the music video before reaching the main body if the video. Performance wise, most of the actions are not
cropped to make the performance look complete and some of these general actions have filled in gaps between the verses and the
choruses. We decided which shots to put where in terms of how they flow through performance and location, some are more important
as of establishing a location or an artist or the band.
6. Vernallis
There is a brief narrative in the song about working for long amount of times and in the rap we see what goes on in the rappers mind.
The music video has stuck to the literal meaning of the lyrics by setting it in locations such as an office. Our video in predominately
performance based with a pinch of the band performance towards the end. This is to focus on the lead singers and the narrative which
is broken up throughout the video. This narrative is partial in a sense that we don’t know a lot about the male singer as it its only
focused on his dislike in his job. It runs smoothly with him in the park then the office but this is broken up by the band performance and
the female lead. We see at the end, the main singer leaves the office with the same hat on as the park scene, this makes the music
video go backwards in terms of locations. The narrative and performances are the main driving forces that shape the music video.
The shots in the music video just generally flow from one and another in simple cuts with no effects or tricks. However to speed some of
the action up, we have used jump edits and this also gives the music video a bit of an edge. This also speeds up the pace of the music
video along with the majority of the video which is mainly cut with the music. The shots are either cut on the beat of the music or the
actions echo the slides that are in the song. There is cutting against movement as demonstrated as we see the actions not only in sync
with the music but also cut on the beat.
In terms of camera movement and framing, the majority of the shots used are still which establish the artist in a still frame. It’s more the
framing and cuts that are linked to the music rather than camera movement and so enables focus on the male and female singers.
Because of the small input of camera movement, we focused more on the framing to show what is happening in the video rather that
put in some tricks. The camera movements used however, are to either rotate round the artist or make the band performance more
exciting to watch such as hand-held shots. The very first shot in the music video is an establishing shot of the male singer in the park
which shows him in full before we see him singing to the camera. There are also establishing shots of the office which, again, gives us
audiences the background to the character that the main singer is portraying.
The content of the music video is quickly revealed at the start as we see shots of him, not only in the park but also in his office. This is
to establish the events in the music video before reaching the main body if the video. Performance wise, most of the actions are not
cropped to make the performance look complete and some of these general actions have filled in gaps between the verses and the
choruses. We decided which shots to put where in terms of how they flow through performance and location, some are more important
as of establishing a location or an artist or the band.